Sigma 311101 50mm F1.4 DG HSM Art Lens for Canon, Black

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Once you stop down to f/2.8, the results improve to the point that you can barely see any traces in images taken with the RF lens. The Sigma continues to display a small amount, whereas with the EF lens, it doesn’t disappear completely until f/5.6. Canon’s EF 50mm f1.2 L USM has always been a benchmark for Canon owners, a lens which most photographers, especially portrait ones, aspire to having in their collection. It has the joint brightest aperture of any lens in the current Canon EF catalogue, and is the only 50mm in the EF range to carry the ‘L’ status. So what if it also carries a price tag to match? It’s the lens to go for if you’re a Canon owner who wants the best 50mm around, right? Canon offers the EF 50mm f1.4 USM at 300 EUR / 350 USD or the EF 50mm f1.2L USM at 1350 EUR/USD. See Gordon’s Canon EF 50mm f1.2L USM review. Full-frame Canon mirrorless owners can alternatively go for the native RF 50mm f1.2L at a considerable 2300 USD; see Gordon’s Canon RF 50mm f1.2L USM review.

Sigma 50mm f/1.4 DG HSM Art Lens Review | ePHOTOzine

Sigma 50mm f/1.4 DG HSM Art Image Samples NIKON D810 + 50mm f/1.4 @ 50mm, ISO 100, 1/800, f/1.6 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 100, 1/250, f/2.0 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 100, 1/250, f/2.0 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 100, 1/320, f/1.4 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 640, 1/100, f/1.4 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 140, 1/200, f/2.0 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 100, 1/640, f/2.0 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 450, 1/200, f/2.0 NIKON D810 + 50mm f/1.4 @ 50mm, ISO 1100, 1/200, f/2.2 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1250, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/2000, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 400, 1/80, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 1000, 1/80, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 5000, 1/80, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/250, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/250, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/500, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/100, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/800, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1600, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/400, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/200, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/200, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 800, 1/80, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/250, f/8.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/640, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/160, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1600, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 125, 1/80, f/11.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/640, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/500, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/320, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/640, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/200, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/125, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 320, 1/80, f/11.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1000, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/320, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/125, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/160, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/800, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/500, f/2.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1250, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/200, f/5.6 Canon EOS 6D + 50mm @ 50mm, ISO 320, 1/80, f/2.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/3200, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1600, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1600, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 250, 1/60, f/2.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/250, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/2500, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/400, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/400, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/800, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/2500, f/1.6 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/1000, f/2.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/160, f/2.0 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/250, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 125, 1/125, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 1600, 1/125, f/1.4 Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/4000, f/1.4 A deep petal-shaped hood is supplied with this lens, which does a good job of shielding the lens from extraneous light that may cause loss of contrast or flare. Even when shooting into the light, contrast remains good and flare is virtually non-existent. Other alternatives include manual focus lenses or lenses with slower focal ratios or shorter focal length:But there are other 50/1.4 lenses to be had. So does the performance of the Sigma 50mm f1.4 ART match the corresponding mark-up in price, and what if you’re considering the Zeiss Otus, the most expensive ‘standard’ lens on the market? Let me go through all alternatives step-by-step. Expanded Sigma 35mm f1.4 DG HSM Art Lens Key Features: Creative control using shallow depth of field Personally I believe the RF lens only makes sense if you feel you’ll get a significant “return” on the investment, be that the intangible satisfaction with the images you create (an emotional return) or the money you make as a result of professional work (a tangible financial return). Otherwise you might as well go with something less expensive and use your remaining budget to invest in additional equipment.

Head2Head: Sigma 50mm F/1.4 DG HSM Art vs Canon 50mm F/1.8 Head2Head: Sigma 50mm F/1.4 DG HSM Art vs Canon 50mm F/1.8

Falloff of illumination towards the corners of the frame is fairly typical for a lens of this focal length and maximum aperture. At f/1.4 the corners are 2.17 stops darker than the image centre and visually uniform illumination is achieved with the aperture stopped down to f/4 or beyond. Auto focus: all the lenses in this comparison except for the Zeiss have a built-in AF drive. Manual-focus override is by simply turning the focus ring. The Sigma, Zeiss, Canon and F-Nikkor have a direct linear mechanical coupling between the focus ring and the focus action. They also offer the distance and dof markings that normally come with lenses designed for DSLRs. The focus ring on the lenses designed for mirrorless camera bodies operate as focus-by-wire with no distance or dof markings. The Sony has a linear gearing while the Z-Nikkor has non-linear gearing which makes smooth focus pulling almost impossible for videographers. [+] Put simply, the Canon 50mm F/1.8 is sort of a clunker. It’s AF is loud and screechy, and as mentioned above, the manual focus is a real pain.So the Sigma 50mm f1.4 Art is a very good lens out-performing lenses even costing twice the price. It sets a very high bar for price/performance ratio of 50mm f1.4 lenses and easily earns our Highly Recommended award. Below I have listed the good and bad points of the lens for you. can be content with “very good” rather than “extreme” sharpness at the fastest apertures or in the corners When shooting at f/1.4, vignetting is noticeable towards the corners of the image frame. That’s not an altogether bag thing, as it can give an attractive look to many types of image, including portraits and still life shots. And if you’d rather have a more uniform level of peripheral brightness, in-camera correction for vignetting is available. The lens relies more heavily on in-camera correction for distortion, as is the case with the majority of recent lenses designed for mirrorless cameras. Whereas the previous DG edition was essentially a zero-distortion lens, the DN exhibits noticeable pincushion for a 50mm prime, when auto correction is disabled. All in all though, image quality and all-round performance are absolutely fabulous. Lớp tráng phủ Super Multi-Layer Coating giúp giảm thiểu hiện tượng loé sáng (flare), đảm bảo vẫn giữ được độ tương phản cao trong điều kiện ngược sáng. Sigma has their 40mm f1.4 Art for 1200 EUR / 1400 USD. The lens is huge and heavy but optically excellent. See my Sigma 40mm f1.4 Art review where it earned a Highly Recommended. With its shorter focal length you have to crop 25% to achieve the same angle of view as a 50mm lens which reduces the resolution of a 46MP full-frame image to 29MP.

Sigma 50mm F1.4 DG HSM review - Digital Photography Review

What are your thoughts here? Do you agree with what I am seeing from these two lenses or do you think that the Canon edges out the Sigma? Update: As always, you can remove chromatic aberration in your favourite post-processing software. In Adobe Lightroom, for example, there is a dedicated tool that does an excellent job of removing all traces of fringing. For the SOOC JPGs, you can also enable the Chromatic Aberr. Corr. option in the Digital Lens Optimiser sub-menu.For me, the Sigma looks a tad sharper again. The Canon has a little bit of a “haze” going on. But still looks pretty good. The Test Performance is absolutely outstanding in terms of sharpness and clarity. Epic levels of sharpness are maintained even when shooting wide-open at f/1.4, not just in the central region of the frame but right out to the extreme edges and corners. The new DN lens easily steals a lead on the former DG edition in this respect. Autofocus performance lives up to its billing, with an excellent turn of speed and it’s virtually silent in operation. Manual focusing is very smooth and allows for very fine adjustments. This is the optical reference regarding sharpness and contrast at every distance and it also sports very low longitudinal CA. But it is even larger and heavier and four times as expensive as the Sigma Art. Plus it has one big deficit: no auto-focus! Looking closer into the resolution results the new Sigma Art even manages to beat the mighty Otus by a small amount in center performance and it shows less light fall-off in the corners. That is an outstanding feat. Regarding Bokeh the Sigma Art and Zeiss Otus are pretty close with the Zeiss producing the bigger Bokeh balls in the center but having a stronger cat’s-eye effect towards the corners.